Auditions, try-outs, whatever you call them, can be nerve racking for both the potential student and the director alike. Having been through many myself on both sides of the coin, I am going to give both directors and students some tips to make them less stressful and an enjoyable experience.
Let's start from a student's point of view. You want to join a performance team, but you wonder if you have what it takes. You are nervous about what they will ask of you and if you'll be up to the task. You don't want to be embarrassed in front of others, but you really want to be part of that team. I remember getting that sick feeling in the pit of my stomach right before I would leave the house to go, it's stressful, but it's also an adrenaline rush that you can harness.
First off, start your day right. EAT. DRINK. You won't last through a lengthy audition if your body is not fueled properly. Try slow burning carbs to keep your energy level steady. Bring water or a sport drink to stay hydrated. Stay away from too much caffeine or energy drinks that will make you jittery. Stretch, and warm up before you get to the studio and try to keep your muscles warm. I frequently use sweatshirts, leg warmers and the like, even in the Florida summer to keep my muscles warm. Dress appropriately for the audition. Directors need to see you move and if you are wearing baggy/sloppy clothing, it will mask what you are really doing. Ladies, wear makeup, and have your hair done or pulled back. Give a professional appearance even if you are in leggings, it really makes a difference.
Be a little early, but not too early. Try to aim to get there 5-10 minutes beforehand. Also research the location if you aren't familiar with it before the day of tryouts. Know where you are going. Directors like people who are prompt, it shows that they are taking things seriously. Smile and introduce yourself to everyone. Be friendly and outgoing.
During the teaching phase, be attentive and seriously try to catch on, even if you don't have it 100% just giving your all will usually be noted by the directors. Smile and "perform" as well as you can - give attitude to the piece. Most directors are looking for potential, to mold you into what their team is looking for, if you show that you learn quickly and perform it, even if not 100% it's a pretty good chance you will make the team or at least catch their eye.
At the end of the auditions, talk to the directors. Ask them questions that you may have, make sure they put a name to your face and your dancing style. Take notes even, especially if you are going to several auditions, and will have to choose between teams.
Now some tips I hope that other directors will find helpful, from the students point of view.
Give information up front, what you are planning and what you are looking for.
Start on time, nothing is more annoying than waiting around for more than 20-30mins
Be prepared on what you will be doing ahead of time
Keep an eye on the clock to not drag out auditions.
Be organized and look professional
Remember your potential students are nervous and their energy will peter out eventually. A 2 hour audition should give you plenty of time to observe and determine what the student has or does not have. Professional level students will be able to handle a more lengthy audition, but you as the director should know what you are looking for. Be cheerful and welcoming, if a student feels at home, they will usually perform better. Answer any and all questions as best as you can. Invite students to talk with you and have plenty of time available to meet with all of them if necessary.
These tips should help both sides have a successful audition experience and allow both the school and the student grow.
Tuesday, July 31, 2012
Friday, July 20, 2012
My Review of the 2012 Orlando Salsa Congress
Having posted a congress survival guide a couple of years ago, I thought I would revisit the whole congress theme, because my dance life revolves around them now. When I wrote that article I was a student and a new performer, now I am a seasoned performer, director and still a student, so my views have changed slightly. This was my 4th Orlando Salsa Congress, and each year has been a slightly different experience for me, but for those of you who could not make it, I'll share my experience and what I witnessed over the weekend.
First of all, this was my first year not having a full pass. This was for a couple of different reasons. The first being the initial offering price was too high for me to be able to even justify. Usually there is a pretty good early bird price, but none so much luck this year, they started at $150 bucks. Reno Bachata Festival and Atlanta Bachata festival already ate up a good bit of any extra funds, so I couldn't afford the pass. Second, I was not performing this year, the performer's pass would have come in handy, alas, we did not land a spot this year. And lastly, I didn't win a full pass this year either. I did try on a couple occasions, but no luck.
I did attend Friday, Saturday and Sunday nights, and interviewed a few different people who were there for some workshops and went over the schedule to see what was offered and what I would have been interested to take.
So that's the background, now let's get down to the nitty gritty. The location this year was the same as 2010, the Hilton on International Drive, entering it's second year in operation. Personally I prefer this location over last year's World Center Marriott for a few different reasons. The conference center seems more attached to the hotel, but still allows the party to not interfere with the guests staying at the hotel for Disney. The halls seem loftier, and less claustrophobic, and it seems that we have the entire hotel to ourselves. It also seems that the ambient lighting and sound acoustics are better here than at last year's event. Another reason why I like this location is it's access to restaurants and stores. The other locations I have attended, the JW Marriott (best pool and swankiest) and the World Center Marriott both have everything you need on the property, at a price. Great restaurants, but a burger for $18??? I'll pass. The Hilton is situated across the street from a couple of decent eateries and if you wish to travel a little on I-Drive, the amazing buffet of the Orlando Tourist district is at your feet. We very easily walked to the IHOP at 7 am, and there was a Denny's across the street from it too. There is also a convenience store on the corner, in case you need some mixers, or a quick snack/breakfast for your room, forgot your sunscreen, etc. A Walgreens is also less than a mile away. It is also closer to the airport for out of towners, and in the hub of all things Orlando. There is a FREE shuttle that runs up and down I-Drive as well, so even if you didn't rent a car, all is well.
While I have not booked a room here at the hotel, I have been in them to party with fellow attendees, and the rooms are very nice, a little smaller than the JW that I remember, and I never made it to the World Center Rooms as they were so far away from the event. Being a local, I do have the convenience to stay at home in my super comfy camita, but in 2010 and 2009, I booked a less expensive room 2 minutes away and made the trip back and forth very easily. Parking is MUCH more affordable at the Hilton, at only $5 a day! Last year it was $8 every time you parked and left, so I spent over $60 on parking alone. It was also down in Osceola county, and no restaurants within a good 10 min drive unless you ate on property, which was not an option for my budget.
The staff of the hotel is very friendly, and turns a blind eye to beverages and food coming into the event, which was not the case last year. It also seems to have more of a Florida type feel. A Gorgeous Pool area, with areas for the kids, grass volleyball courts, basketball courts as well round out some of the other features, but with as much as I dance, I don't have time for those diversions.
Now onto the event itself. I arrived on Friday evening around 8:45, to be greeted by a line that was 25 people deep trying to pay to get in. It was a little annoying at first, but the Salsa Heat staff, jumped in and started offering different lines for different pass holders, and it moved much quicker afterwards, there was not a line any other night that I witnessed, as they kept to splitting off night passes with cash (the quickest line), night passes with debit/credit, and full/performer passes. A very wise idea, I must commend them as it seemed the smoothest check-in of the past 4 years and any other Congress I've been at.
Performances were set to begin at 9 pm, and although the schedule said promptly, I knew better. We still couldn't find decent seats in the rows of chairs, as people were holding entire sections, but we snagged a decent table diagonal from Stage left and had a good group of people to chat and socialize with. Friday had 38 performances, mostly Semi-Pro, student teams and ladies teams for 3/4 of them, then some of the instructors closed out the night. Troy Anthony was the emcee again, and he always does the best job in my opinion. Son Salvaje was the band from the night, and it was nice to have some local musicians, as well as dancers playing a variety of music, all of which very danceable. They played salsa, cha cha and bachata well into the night, I think they called it quits around 3 am. The Bachata room was going pretty strong all night, and when we left, still quite packed. We called it quits as it seemed to be dying down and since we had to drive home. I was in bed around 6am Saturday morning.
Saturday was the big gala night, all the big performances. Got my pass in a hurry, and got there a little earlier this time to attempt to grab a good seat. No such luck again, but I did get a table right to the side of the stage, so I was very close to the action. There seemed to be a lot of rudeness this year however, with people walking in front of the stage during performances. I've never seen that before, and I found it quite odd that no one enforced people to remain away from the stage while groups were performing. 41 performances on the docket, and mostly pro level, very clean and entertaining shows. Time went by very quickly, and I didn't notice how late it really was until Santo Rico closed the Show. The band for the night was the Mambo Swing Orchestra, as they have been at every Orlando Salsa Congress on one night or another. I am not a huge fan, but they kept the room rocking until 4 am, and a DJ took over. The Bachata room was just as packed it seemed as the Salsa room and they kept going until 7:30am. We however left when the house music started around 6am. The salsa room went until 5:30 as no one was quite ready to call it quits, lights on and all. A short walk to breakfast with friends and home by 8:30.
Sunday is usually my favorite night, as the true die hard dancers are there. I had seats in the reserved section this time, only 4 rows back from the stage. A perfect view. Sunday night had 26 performances, with more emphasis on Bachata and a few comedic performances as well. The vibe was more laid back and Troy did an awesome job. Most of the groups are start-ups, newly formed teams, children, and first time performers. It was nice to see the encouragement and great crowd feedback (even more than the other nights in my opinion) A few really good classic routines were performed as well, Island Touch did their Bachata in Fukoka Routine, and Santo Rico once again closed the show. Dancing started by 1130pm and went on until after 5am again, alas we had to leave early due to work Monday morning, but we had danced a lot the previous nights, so not too hard to head home. They did have the Bachata room again on Sunday, which is a first in my recollection. Turnout was good, not as crowded obviously as the other nights, but if you were looking to snag a dance with a Pro, the best night to do so.
I asked around about the workshops, from students who I knew that attended them. I got a few mixed messages, it seemed that many of the salsa workshops were a little too difficult or not something they enjoyed or would use, and the bachata workshops too easy and they were looking for different instructors. As I looked over the schedule, I did see many of the same workshops as in prior years, and it did seem as if there were as many as before, sadly. Columbian footwork was new one, and Kizomba made another appearance, last time it was offered in 2010 by Shaka Brown, this year by Troy.
Pool parties seemed to be really rocking, I'm not a huge fan, I prefer to rest up as I get to the event early in the evening, but I did hear amazing stories. There was good weather for them on both Friday and Saturday, with poolside music all afternoon all three days. Sunday was a little grey and had some afternoon thunderstorms, but heard it was still packed for the official party. They did have a small covered, shady area for dancing, and another poolside video was shot on Sunday, it's available on iMamboTV. On a side note, I witnessed people running through the sprinklers in their dresses and fancy attire at the end of Saturday on the lawn of the hotel, something I would be more up for after being hot all night, than having the sun suck the energy out of me all afternoon. I'm wondering if it will be a trend?
All in all, another good event. I did however feel the prices even for the night passes a little high for the locals. There was no three night pass available, so including parking it cost $80 per person for each of us to attend just the night parties this year. A slight increase over last. We also had to cut out Thursday night, since it was $15 per person, and they had over 400 people in attendance for the pre-party on Thursday, so that was a bummer. From a director's point of view, the stage was large and impressive, with a nice floor, amazing lighting, and high ceilings. There were a lot of shows this year, and although Saturday was jam packed, I think they could have paired it down a bit. I will actually post more about the performances themselves later.
I have to admit, I am spoiled living in Orlando, but as it has been stated by others, some Congresses are in trouble. I would hate to see OSC head down that path, and while I do not know the exact attendance count, it did seem lighter this year. There were 3 Congresses going on the same weekend, so that does cut into your attendance. The weekend before July 4th probably would have worked better for many's schedules, a slight tweak on the dates could have helped. My opinion, people want a lot of bang for their buck, so vary up the workshops a bit, fix the time issue with the shows, offer a flexible payment plan or an all inclusive hotel package, and OSC will continue one of the best in the country.
Friday, March 30, 2012
Shoes, Shoes, Shoes.....
Something that I have encountered now as a director and instructor is the need for my students to have proper shoes to dance in. And how to explain to them why the dance shoes are important, and why you just cannot substitute a good dance shoe early on. Here is my story and advice on what shoes to buy.
I remember when I first started over 3 years ago, the website of the dance school I would be going to recommended leather soled shoes, and discouraged sneakers especially for guys. They also mentioned a proper ankle strap for the ladies. I went out to DSW and bought two pair of short heeled shoes with an ankle strap and leather soles. I wore those two pairs until the heels broke on my black pair, and my gold pair were filthy. I do not even know why I held onto them for so long. They almost held me back. The soles were so hard, that my poor feet would bleed at congress and I would soak them in the hot tub at the hotel for relief. I could not properly point my toes, or spin all that well on them. I would slip at times as well. The only saving grace was they were street shoes, so they were versatile when I would go out every night.
After my first congress I decided that I wanted to try for a salsa team, and shoes where required. I broke down and had the owner suggest a proper pair for me and paid $80 for a pair of Very Fine shoes with a thick sturdy 2.2" heel and a double ankle strap. They are actually in the picture at the top of the blog. Once I got these shoes, my potential shot up. I was finally able to do double spins, without total fear and I wasnt sliding all over the floor as usual. I've continued to wear these shoes from time to time, I broke the strap once, and had it repaired at a shoe place and these shoes just keep on going.
My next pair was a disaster. I wanted something prettier, although I liked my black shoes, they didn't work with every outfit. I was referred to an amazing website, www.exoticsalsashoes.com, where my beloved Very Fine shoes were only $49 with free shipping. The first pair I had were sized for me as an 8 and at the time I also weighed about 165 lbs. They were a teensy bit tight, so I ordered a lovely silver pair in an 8.5. What I didnt know was that I had pick a "Sera" edition shoe, and they run a little bigger and the heel would be a tiny flare heel compared to what I had already. I ended up returning them and getting an 8, still too big, but I didn't want to return them again. I just made do and turned them into my "going out shoes" I loved the way they looked, just they never fit exactly right. They have since been handed down to one of my students who had them enlarged for her and are still going with new heel tips, as I had danced through them.
A beginner salsera or bachatera should buy a pair of study shoes, in a half or full size smaller than their usual "street" size. I always refer students to pairs that I myself have worn and had much success with Style 1662b is always a pretty option, with double ankle straps it is a very secure shoe, (I've owned and performed in several pairs of these) or my original pair with the mesh to hold the front of the foot, without straps cutting into toes etc. As the dancer becomes more comfortable with dancing and using their shoes, they should increase their heel height. As I am comfortable in very high street heels, my minimum heel height has become a 3" heel. I won't order lower, and am working on increasing up to 4".
Some would argue that a lower heel is better for tricks, and I agree, but as a performer and experienced dancer, I practice in 3" so I can do tricks in a 3", if I am not doing tricks then I should be in a 3.5", 3.75", or 4", but that is personal preference. I feel the higher heights force me to dance on the proper part of my foot, and not dance flat footed, or back on my heels. The inside edges of my shoes are completely flattened and since I push into the floor so much, I still end up with bruised feet at Congress, but they aren't bleeding anymore.
Now I'm older, wiser, more experienced and know better about ordering shoes. I still love Very Fine shoes, you just cannot beat the price, although I'm experimenting with other brands now. Burju shoes are gorgeous, but I would not recommend them for the beginner. Same with Gri by Griselle and GFranco shoes. They are fashionable, but the heel options pose a problem for those ladies, who either A.) do not every wear heels or B.) their feet will not fit in their limited sizes. They also are pretty pricey, ranging from $80-$150 a pair.
When I go to the clubs, I DO NOT wear dance shoes. It is not worth the risk of ruining a pair of shoes for me. I buy street shoes that I can dance in. Smooth soles, sturdy ankle straps and heels. I cant point my toes like in my flexible dance shoe, but they will not get ruined by the drinks spilled on the floor by non-dancers. They won't get coated in grimy black stickyness from the floor that I have to scrape off and hope the suede isn't ruined. I've currently danced through 2 pairs of Nine West heels but my shoe guy can resole and reheel tip them and they will be just fine for more wear and tear. I see many girls with their dance shoes on when I am out, but my income is not disposible and I need my dance shoes to last a while.
Guys are not exempt from the dance shoe talk. My male students are SO reluctant to buy a pair it's not funny. They always want to wear dress shoes. My caviat to this is that they are not split sole and they cannot more their feet or feel the floor. So until they get them I put them in socks. I know it's silly but sneakers or dress shoes do not allow them to dance on the balls of their feet either. There are not as many styles of men's shoes but I still love the look of just classic Bloch dance shoes in flat black. www.danceshoesonline.com have several different options for men, and my partner has recently ordered from them with good results, quick delivery and amazing pricing.
So to recap: YES you need dance shoes! Buy sturdy ones that fit your foot properly with the appropriate heel for your level. Take care to not wear them where they will get wet, remember to brush your suede after using them. They will only help your dancing get to the next level. Also find a shoe repair person, perferrably someone familiar with dance shoes. They will help you make your shoes last more than just one season.
I remember when I first started over 3 years ago, the website of the dance school I would be going to recommended leather soled shoes, and discouraged sneakers especially for guys. They also mentioned a proper ankle strap for the ladies. I went out to DSW and bought two pair of short heeled shoes with an ankle strap and leather soles. I wore those two pairs until the heels broke on my black pair, and my gold pair were filthy. I do not even know why I held onto them for so long. They almost held me back. The soles were so hard, that my poor feet would bleed at congress and I would soak them in the hot tub at the hotel for relief. I could not properly point my toes, or spin all that well on them. I would slip at times as well. The only saving grace was they were street shoes, so they were versatile when I would go out every night.
After my first congress I decided that I wanted to try for a salsa team, and shoes where required. I broke down and had the owner suggest a proper pair for me and paid $80 for a pair of Very Fine shoes with a thick sturdy 2.2" heel and a double ankle strap. They are actually in the picture at the top of the blog. Once I got these shoes, my potential shot up. I was finally able to do double spins, without total fear and I wasnt sliding all over the floor as usual. I've continued to wear these shoes from time to time, I broke the strap once, and had it repaired at a shoe place and these shoes just keep on going.
My next pair was a disaster. I wanted something prettier, although I liked my black shoes, they didn't work with every outfit. I was referred to an amazing website, www.exoticsalsashoes.com, where my beloved Very Fine shoes were only $49 with free shipping. The first pair I had were sized for me as an 8 and at the time I also weighed about 165 lbs. They were a teensy bit tight, so I ordered a lovely silver pair in an 8.5. What I didnt know was that I had pick a "Sera" edition shoe, and they run a little bigger and the heel would be a tiny flare heel compared to what I had already. I ended up returning them and getting an 8, still too big, but I didn't want to return them again. I just made do and turned them into my "going out shoes" I loved the way they looked, just they never fit exactly right. They have since been handed down to one of my students who had them enlarged for her and are still going with new heel tips, as I had danced through them.
A beginner salsera or bachatera should buy a pair of study shoes, in a half or full size smaller than their usual "street" size. I always refer students to pairs that I myself have worn and had much success with Style 1662b is always a pretty option, with double ankle straps it is a very secure shoe, (I've owned and performed in several pairs of these) or my original pair with the mesh to hold the front of the foot, without straps cutting into toes etc. As the dancer becomes more comfortable with dancing and using their shoes, they should increase their heel height. As I am comfortable in very high street heels, my minimum heel height has become a 3" heel. I won't order lower, and am working on increasing up to 4".
Some would argue that a lower heel is better for tricks, and I agree, but as a performer and experienced dancer, I practice in 3" so I can do tricks in a 3", if I am not doing tricks then I should be in a 3.5", 3.75", or 4", but that is personal preference. I feel the higher heights force me to dance on the proper part of my foot, and not dance flat footed, or back on my heels. The inside edges of my shoes are completely flattened and since I push into the floor so much, I still end up with bruised feet at Congress, but they aren't bleeding anymore.
Now I'm older, wiser, more experienced and know better about ordering shoes. I still love Very Fine shoes, you just cannot beat the price, although I'm experimenting with other brands now. Burju shoes are gorgeous, but I would not recommend them for the beginner. Same with Gri by Griselle and GFranco shoes. They are fashionable, but the heel options pose a problem for those ladies, who either A.) do not every wear heels or B.) their feet will not fit in their limited sizes. They also are pretty pricey, ranging from $80-$150 a pair.
When I go to the clubs, I DO NOT wear dance shoes. It is not worth the risk of ruining a pair of shoes for me. I buy street shoes that I can dance in. Smooth soles, sturdy ankle straps and heels. I cant point my toes like in my flexible dance shoe, but they will not get ruined by the drinks spilled on the floor by non-dancers. They won't get coated in grimy black stickyness from the floor that I have to scrape off and hope the suede isn't ruined. I've currently danced through 2 pairs of Nine West heels but my shoe guy can resole and reheel tip them and they will be just fine for more wear and tear. I see many girls with their dance shoes on when I am out, but my income is not disposible and I need my dance shoes to last a while.
Guys are not exempt from the dance shoe talk. My male students are SO reluctant to buy a pair it's not funny. They always want to wear dress shoes. My caviat to this is that they are not split sole and they cannot more their feet or feel the floor. So until they get them I put them in socks. I know it's silly but sneakers or dress shoes do not allow them to dance on the balls of their feet either. There are not as many styles of men's shoes but I still love the look of just classic Bloch dance shoes in flat black. www.danceshoesonline.com have several different options for men, and my partner has recently ordered from them with good results, quick delivery and amazing pricing.
So to recap: YES you need dance shoes! Buy sturdy ones that fit your foot properly with the appropriate heel for your level. Take care to not wear them where they will get wet, remember to brush your suede after using them. They will only help your dancing get to the next level. Also find a shoe repair person, perferrably someone familiar with dance shoes. They will help you make your shoes last more than just one season.
Monday, May 16, 2011
Monday's Musings and Music!
So this is my new idea to make me more responsible and updating more often. Random things that pop in my head or experiences will pop up, along with a new artist or song that is making my feet burn up the floor.
So my latest grievance I guess you can say is dance floor etiquette. I know I've talked about it before, but recently Ive noticed some HUGE issues that have made my nights out extremely uncomfortable and almost undanceable.
First off....no one seems to be learning how to dance in a slot. AT ALL. The only people that seem to be dancing in a slot are the more experienced or "professionals" if you will. How are you supposed to protect your girl or get her to be able to follow if you don't stay in a fixed slot?? I understand having to adjust, but I see people starting on one part of the floor and then I turn around they are in my face and I get stepped on. I'm still in my "slot" that my partner have staked out and now I'm being bumped around. It's almost like a foreign concept to many of the newer dancers I see, staying in the slot. I think this also helps the follow know exactly what you want her to do or go.
Next, tricks on the social floor. Big no no, especially if its a crowded floor. I had both of a girl's feet slam into me from behind, because the guy thought it was okay to throw her between his legs. This same guy does semi lifts, neck drops and also does not dance in a slot. Just because you can do something doesn't always mean you should do something. I was always taught that tricks were not designed for the social floor at all, more for choreography. I mean you cannot really expect those types of moves to be "followable". That poor girl was flung so hard, she slid into me and hit me full force. Good thing she was wearing ballet flats and not heels. After that occurrence, I continued the song, until he tried a neck drop and scraped the back of my calf and ankle. I had to stop dancing for fear of injury, and no apology given.
What in the world is going on? I mean seriously? Even at socials I am finding it harder to find a safe slot that I can enjoy the song without a guy throwing some girl into me. With how serious I take my dancing, not to mention my job, I cannot afford an injury that sidelines me. I remember amazing advice that Griselle Ponce gave a group of us in Tampa a couple of years ago about etiquette and how to be careful when stepping to not throw your weight into your heels to prevent stepping on someone, its good advice, as well as good technique.
I hope that more people realize how uncourteous they are being and start trying to be aware of other dancers around them. I want to enjoy my nights out, and not end up leaving bruised and frustrated.
Now onto the next part. Music. I am always in search of new or new to me music that really speaks to me. One of my all time favorite musicians, is Willie Bobo. I had never heard of him before the Orlando Salsa Congress in 2009. I took an awesome cha cha shine class with Shaka Brown and he always lets us know the artist of the song. He introduced me to the song "Juicy". I then looked it up to have it, and found a plethora of other good songs. He's most famous for "Fried Neckbones and some Home Fries", but one of my favorites is "Trinidad" If you like Latin Jazz, you need to check his stuff out. It has some awesome grooves and I cannot sit still when his music starts playing. Cha cha aficionados definitely need him in their rotation.
That's it for this Monday. Next week I'll give you all a breakdown of what's going on in the Orlando dance scene.
Ciao for now,
White-a-Rican
So my latest grievance I guess you can say is dance floor etiquette. I know I've talked about it before, but recently Ive noticed some HUGE issues that have made my nights out extremely uncomfortable and almost undanceable.
First off....no one seems to be learning how to dance in a slot. AT ALL. The only people that seem to be dancing in a slot are the more experienced or "professionals" if you will. How are you supposed to protect your girl or get her to be able to follow if you don't stay in a fixed slot?? I understand having to adjust, but I see people starting on one part of the floor and then I turn around they are in my face and I get stepped on. I'm still in my "slot" that my partner have staked out and now I'm being bumped around. It's almost like a foreign concept to many of the newer dancers I see, staying in the slot. I think this also helps the follow know exactly what you want her to do or go.
Next, tricks on the social floor. Big no no, especially if its a crowded floor. I had both of a girl's feet slam into me from behind, because the guy thought it was okay to throw her between his legs. This same guy does semi lifts, neck drops and also does not dance in a slot. Just because you can do something doesn't always mean you should do something. I was always taught that tricks were not designed for the social floor at all, more for choreography. I mean you cannot really expect those types of moves to be "followable". That poor girl was flung so hard, she slid into me and hit me full force. Good thing she was wearing ballet flats and not heels. After that occurrence, I continued the song, until he tried a neck drop and scraped the back of my calf and ankle. I had to stop dancing for fear of injury, and no apology given.
What in the world is going on? I mean seriously? Even at socials I am finding it harder to find a safe slot that I can enjoy the song without a guy throwing some girl into me. With how serious I take my dancing, not to mention my job, I cannot afford an injury that sidelines me. I remember amazing advice that Griselle Ponce gave a group of us in Tampa a couple of years ago about etiquette and how to be careful when stepping to not throw your weight into your heels to prevent stepping on someone, its good advice, as well as good technique.
I hope that more people realize how uncourteous they are being and start trying to be aware of other dancers around them. I want to enjoy my nights out, and not end up leaving bruised and frustrated.
Now onto the next part. Music. I am always in search of new or new to me music that really speaks to me. One of my all time favorite musicians, is Willie Bobo. I had never heard of him before the Orlando Salsa Congress in 2009. I took an awesome cha cha shine class with Shaka Brown and he always lets us know the artist of the song. He introduced me to the song "Juicy". I then looked it up to have it, and found a plethora of other good songs. He's most famous for "Fried Neckbones and some Home Fries", but one of my favorites is "Trinidad" If you like Latin Jazz, you need to check his stuff out. It has some awesome grooves and I cannot sit still when his music starts playing. Cha cha aficionados definitely need him in their rotation.
That's it for this Monday. Next week I'll give you all a breakdown of what's going on in the Orlando dance scene.
Ciao for now,
White-a-Rican
Monday, April 4, 2011
Sad Day in Orlando Dance Scene
Today the sad word came that Dance Orlando, the premier place for ballroom and salsa socials are closing their doors. The landlord has decided to sell the property to a neighboring mechanic's shop. With it's large floating wood dance floor, vaulted roof and professional sound and lighting - it was perfect for extremely large socials. Some would be over 1,000 attendees for the Salsa Heat Socials.
I have a lot of good memories in that warehouse. I went to my first social there, took my first bachata class with Island Touch. Performed there 3 times, and attended almost monthly for 2 years.
It truly saddens me to see this place go along with one of the bigger socials in town. What's the future for Salsa Heat socials now? As their E. Colonial location is way too small and Kissimmee too far - things seem up in the air for now. I wonder what is happening to that fabulous real wood floor? Most studios have been opting for laminate flooring - which is sufficient at times, it just does not compare to real wood. I hope its not just torn out and discarded.
Do you have any favorite memories of this Orlando institution? Feel free to share below..
Ciao for Now
White-a-Rican
I have a lot of good memories in that warehouse. I went to my first social there, took my first bachata class with Island Touch. Performed there 3 times, and attended almost monthly for 2 years.
It truly saddens me to see this place go along with one of the bigger socials in town. What's the future for Salsa Heat socials now? As their E. Colonial location is way too small and Kissimmee too far - things seem up in the air for now. I wonder what is happening to that fabulous real wood floor? Most studios have been opting for laminate flooring - which is sufficient at times, it just does not compare to real wood. I hope its not just torn out and discarded.
Do you have any favorite memories of this Orlando institution? Feel free to share below..
Ciao for Now
White-a-Rican
Tuesday, March 22, 2011
Updates!
Hola a Todos!
Things have been going well, and I'm dancing more and more, with less pain. Hooray! Jorge is stoked. We just got back from the Elegant Rumba Masquerade Ball in Ft. Myers, FL. If you ever get the chance to go to an ER social - GO! The passion that these dancers have is inspiring! I will be making more trips soon.
Jorge and I are continuing to dance On2. We are loving it and it's becoming comfortable, and I prefer it over On1 at times. I still get confused a bit from time to time, but I danced with people I've never seen this weekend, On1 and On2 - the switching sometimes is difficult, I find myself counting. We moved up a level now, and I would say I am an intermediate On2 dancer. Advanced On1, but intermediate On2. I think its helping my follow being able to do both, but I don't want to become a "confused" dancer.
So I am keeping up with my goal of dancing with people that I don't know. This weekend was a good one, I racked up 4 new people in one night!
We are also working on routines, and practiced lifts in the pool this weekend for fun. I put up a video on youtube of us playing around. I also learned that dancing in a masquerade mask is extremely difficult...your field of vision is limited and your breath gets caught in the mask and your face sweats.....so it only lasted one cha cha.
We are planning our road trip to Atlanta for the Bachata festival next month. Will you be there? If so look us up!
Ciao for now
White A Rican
Things have been going well, and I'm dancing more and more, with less pain. Hooray! Jorge is stoked. We just got back from the Elegant Rumba Masquerade Ball in Ft. Myers, FL. If you ever get the chance to go to an ER social - GO! The passion that these dancers have is inspiring! I will be making more trips soon.
Jorge and I are continuing to dance On2. We are loving it and it's becoming comfortable, and I prefer it over On1 at times. I still get confused a bit from time to time, but I danced with people I've never seen this weekend, On1 and On2 - the switching sometimes is difficult, I find myself counting. We moved up a level now, and I would say I am an intermediate On2 dancer. Advanced On1, but intermediate On2. I think its helping my follow being able to do both, but I don't want to become a "confused" dancer.
So I am keeping up with my goal of dancing with people that I don't know. This weekend was a good one, I racked up 4 new people in one night!
We are also working on routines, and practiced lifts in the pool this weekend for fun. I put up a video on youtube of us playing around. I also learned that dancing in a masquerade mask is extremely difficult...your field of vision is limited and your breath gets caught in the mask and your face sweats.....so it only lasted one cha cha.
We are planning our road trip to Atlanta for the Bachata festival next month. Will you be there? If so look us up!
Ciao for now
White A Rican
Wednesday, March 2, 2011
Ut Oh, He's asking ME??!!??
Something I have noticed recently personally as well as with others is this nervousness of dancing with an instructor or someone that is "really good". As soon as a "pro" that I've never danced with before asks me to dance socially, I start freaking out. I second guess myself, and become almost petrified. I know I am not alone in this, I overhear it at socials, I discuss it with other dancers as well.
Why do we do this to ourselves? Dancing is supposed to be fun, why are we putting pressure on ourselves? Is it the fear that we are going to be so bad, that they'll never asks us again? Are we afraid of looking bad in front of others?
I find that when I do this, I often fall off timing, miss easy cues and just all around stumble through the dance....if I just relax and breathe, I can do things Ive never imagined!!! Sometimes I discover that someone that I thought was an amazing dancer, has a really odd lead, or bad timing or is confusing and hard to read. There may be a reason why they have never asked me before, I'm a school trained dancer, and they may have never really taken a class. They may be just as nervous as I am!!
The best advice, is to dance your best and stay on your timing, they will adjust. Technically, the dance should start off easier and progress, they should be figuring your follow out as well as you figuring out their lead. Smile and enjoy it. I will say some of my best dances are also some of the funnest! If I can let go of being the "perfect dancer" and just have fun, I look and feel soo much better. Even the best dancer, or instructor started off just like you, it just was a longer time ago. they know what you are going through.
This will be something I will have to work on for a long time. I do find that I am most nervous the first time and it gradually wears off. I know a couple of amazing dancers that I am never nervous with, and it's their positive energy and enjoyment of the music and each dance that I feed off of. Two that come to mind instantly is Nery Garcia, and Sean Wilson.
I just need to work on my self confidence and realize how good I actually am, and that I am worthy of dancing with the best! Actually I feel everyone is - its a good exercise to actually dance with people of varying levels, to work on your follow or lead.
I'm starting this weekend! I'm going to try and see how many new people I can dance with this month....how many can you rack up?
Ciao for now,
White-A-Rican
Why do we do this to ourselves? Dancing is supposed to be fun, why are we putting pressure on ourselves? Is it the fear that we are going to be so bad, that they'll never asks us again? Are we afraid of looking bad in front of others?
I find that when I do this, I often fall off timing, miss easy cues and just all around stumble through the dance....if I just relax and breathe, I can do things Ive never imagined!!! Sometimes I discover that someone that I thought was an amazing dancer, has a really odd lead, or bad timing or is confusing and hard to read. There may be a reason why they have never asked me before, I'm a school trained dancer, and they may have never really taken a class. They may be just as nervous as I am!!
The best advice, is to dance your best and stay on your timing, they will adjust. Technically, the dance should start off easier and progress, they should be figuring your follow out as well as you figuring out their lead. Smile and enjoy it. I will say some of my best dances are also some of the funnest! If I can let go of being the "perfect dancer" and just have fun, I look and feel soo much better. Even the best dancer, or instructor started off just like you, it just was a longer time ago. they know what you are going through.
This will be something I will have to work on for a long time. I do find that I am most nervous the first time and it gradually wears off. I know a couple of amazing dancers that I am never nervous with, and it's their positive energy and enjoyment of the music and each dance that I feed off of. Two that come to mind instantly is Nery Garcia, and Sean Wilson.
I just need to work on my self confidence and realize how good I actually am, and that I am worthy of dancing with the best! Actually I feel everyone is - its a good exercise to actually dance with people of varying levels, to work on your follow or lead.
I'm starting this weekend! I'm going to try and see how many new people I can dance with this month....how many can you rack up?
Ciao for now,
White-A-Rican
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